A Chicago-based Soulful Rock n' Roll experience that pairs post-british invasion blues and raw stomping choruses with a love-induced romantic adoraton for the new wave of lank-haired, stary-eyed girls and boys of the revolution who don't want to know any better.


Hollus is the product of guitar player and lead songwriter Michael Lux-Sauer, who started the group as a solo project under the same name in 2001. After spending more than a year in the studio recording, "The Farce," a record which would never be released, Lux-Sauer decided to scrap the project, and began writing songs for something undoubtedly grandeur. The goal of the new Hollus was created out of Lux-Sauer's self-serving longing and need to smash the apathy and mediocrity of what was being heard in the rock scene at the time. Something not just based in rock music, but something that gave you all the feelings that no modern rock group had been giving him. Music of raw power and artistic exitement that could be given to the people for exactly that.

He called on childhood friend and collaborator Jamison Acker to sing a few songs he had written. Acker's howling, reminiscent of greats like Steve Marriott and Paul Rodgers, shook Lux's vision into shape, and by adding the loose-cannon Kenny Jones-esque drumming of Matthew "Bones" Perryman, and the lightning lead bass playing of Sean Blythe, the four old friends had everything they needed.

The group began quickly it's first rehearsal, with the members learning and collaborating on four original punk-infused blues tunes that would set the bar for everything else Hollus would write, as well as showing an instant subconscious bond between the group. It became very apparant that this was not Lux's group, but a completely focused unit of musicians working together.

It was clear by the time that Hollus went into the recording studio six months after their birth, that their fusion of 60's psychedelia, raw rock n roll, sweet blues and glitter glam, reminescent of groups as diverse as The Small Faces to The Stooges, had become something not just transcendent, but something momentus. This moment was "Bombs,"(2006) which has become somewhat of an underground hit, being talked about in numerous blogs and gaining radio attention in Europe. "Good Sons," released a year later, amped up production value and songwriting ability. It contained more of a hazy-glam feel, and began to show them growing in ambition, as they contained gospel singers, sitars, trumpets, and fifes on the same rock record. Though it was recorded three separate times, the group settled on recording it themselves in the same abandoned mattress factory they did "Bombs" in and the dead/alive up-all-night raw energy that surrounds the sessions is placed fantastically throughout every moment in "Good Sons."

One of the most impressive and engaging attributes Hollus has, may actually be their age. When the group started in 2005, their ages ranged from 19 to 22, and now, playing together for four years, the group has grown in talent and diversity with it's age. The crowds of people that have come to see Hollus at Chicago landmarks like The Double Door, The Abbey, and The Cubby Bear many times consist of a large amount of people over the age of 30, who frequently find the band afterwards and demand records, and want to tell stories of the past, while the younger crowd piles to the front, dancing and grooving to the flurry of raw power and psychedelic overtone.

After taking a hiatus in 2007 due to losing bass player Sean Blythe, Acker, Sauer-Lux and Perryman reunited in January 2008 to begin working on new songs. They enlisted Steepwater Band bass player Tod Bowers to fill the low end on the sessions, while SWB guitarist Jeff Massey lends his fingers to two songs. In a few months time, Hollus had completed recording what would be their most diverse and concise record yet, "Joker and the Queen." After venturing to Nashville, Lux came home with enlightened appreciation for old country music, and the Parsons/Band tinge on tracks like "Honest Man," and the title track reflect that, as well as the same atom-bomb power of tracks like "It Won't Stick," and "Miss Daisy." The record was released on Christmas 2008 and has already garnered acclaim and air play on Chicago's WXRT.

Now with the addition of full time bass player Colin Mulhern, and live players Derek Porter (guitars, keyboards) and Katie Brandt, (backing vocals, percussion) Hollus is truly a live powerhouse, and with a great back catalogue and a fantastic new record, they are set to make a lot of noise in the rock world.


Fever Song

Written By: J. Acker

Cant stop the good fever growing
Cant break to avoid it all
Cant hurt to pitch one more throw in
Cant miss if you dont swing at all

Let hold go on your ambition
Let a pause employ us all
Take words and make a position
Heartbeat in a soul song
Whatcha say about that my friend
Whatcha say about that in the end
In the end.....
Whatcha say about that my friend



Joker & The Queen

Written By: M. Lux-Sauer

I was the joker you was the queen
We was the song that we did sing
We were the people we wanted to be
All that we wanted was holy and free

We walked the old roads fashioned with furs
We was our own child we was our own curse
All devil may care we spin in reverse
The blind choir plays on they dont miss a beat or verse
Come bring it back to me
Come give it back to me
Come bring back to me
Come give back to me

We lived a bright haze
And the records they turned
And on the cold days old dogs howl was heard
The place wasnt warm but the whiskey was good
The well that we was wishing was at our feet but we forgot

*Chorus x2

Miss Daisy

Written By: M. Lux-Sauer

Miss daisy's on a truck in the road getting anxious getting cold
And all she wants to do is not do what shes told
Precious time she gives she sells to all her lovers she will tell
I know I love you baby but my baby love me well to

Now on the other side of the town flower girls getting down
He'll be pushing her up soon praying deep in the ground
Save her soon save her now let her go get her out
Shivering whispering words save us all from the cloud came through
Another gone lady..
And there is another one waiting
At the foot of her bed
Another gone lady ..
And there is another one waiting
At the foot of her bed for you..

Miss daisy knows the sacred tune as fever grows in ones like you
So let her write a letter for your postman to chew
And it comes to all you know they held her high they wanted more
As church bells sound miss daisy sweeps the killing floor with you

*Chorus x2

One More Road

Written By: J. Acker/M. Lux-Sauer

All my friends stop making sense
Listen to the calling
Where's your window on this ordinary night
Hear the stray dogs laughing
Time to go to the whistling shore
To that old black sea
Come with me to newberry creek
Ramblin' to south country

Getting high just passing the time
Watching girls above
All the time to drink up your wine
I feel sick with love
Needles and hay we is whistling away
Foreign fogs a coming
Getting lost on the slow train bus
We dont care bout' nothing...
One more road
One more road
One more road
One more road

Ten rock roads nowhere to go
Boots all gravel splinters
Living high now cos in summer and fall
Run to gilded winters

Gimme the steam of that rockin' horse dream
Let me meet my maker
Snowbirds dream in a magazine
Sunday ride Ill take her Sunday ride Ill take her
Sunday stoned Ill take her...



Bombs (2006) download on Jamendo.com
Good Sons (2007) download on Jamendo.com
Joker And The Queen (2008) Streams on ilike.com and reverbnation.com

Set List

Much of Hollus' ever-changing original set (which includes extended variations and improvisations, shaken not stirred) also includes various soul and blues covers, including songs like "Lonely For You Baby" by Sam Dees, and "Four Day Creep" by Ida Cox.